Rosson Crow is an artist living and working in Los Angeles. Crow’s large-scale, raucous paintings have been described as “inspired by diverse references—Baroque and Rococo interior design, cowboy culture, Las Vegas architecture, theatre, and music—their dominant scale pulling the viewer into the psychological space of the spectacle. These paintings oscillate between celebration and desolation.” This Tuesday Evenings presentation serves to set up the Modern’s FOCUS: Rosson Crow, which opens the following weekend.
March 24, 2009
Donald Sultan is one of the leading American contemporary still life artists, known for his large–scale, “catastrophic-event” paintings that incorporate nontraditional materials such as Dead Plant, November 1, 1988, as well as his sensuous charcoal drawings of iconic presentations and abstract depictions of fruit such as Black Lemons, May 20, 1985, both in the Modern’s collection. For this Tuesday Evenings presentation, Sultan shares details of his 30-year career as found in the recently published monograph, Donald Sultan: The Theater of the Object.
Fahamu Pecou is an artist working in Atlanta, where he began a branding campaign for his own career as a painter. Fahamu Pecou is the Shit (which began in 2002 with paintings of the artist on the cover of art and culture magazines, t-shirts, posters, a mockumentary, and guerilla street art) is fashioned after similar celebrity campaigns Pecou created for various rap and hip-hop artists through his design business, Diamond Lounge. This Tuesday Evenings presentation, Behind the Canvas, takes an intimate look at the personal life of an artist.
Nicola Vassell is a curator, art writer, and currently a director of Deitch Projects in New York. For this Tuesday Evenings lecture, Vassell presents DARK ART: A New Conversation with Abstraction, in which she proposes that “a new and grittier form of abstraction permits us to theorize that a younger generation of painters, consciously or not, is producing ruggedly electric paintings that tell somber and vicious tales . . . making a statement on the sociopolitical inevitability of a world gone mad.”
Gavin Morrison is curator of Fort Worth Contemporary Arts at Texas Christian University and a director of the curatorial initiative, Atopia Projects. For this Tuesday Evenings presentation, Cowboys on the Lido, Morrison considers a hypothetical Texas pavilion at the 54th Venice Biennial in 2011 (also the 175th anniversary of the founding of the Republic of Texas), asking, “What would it mean for Texas to be presented in this context and at a time where nation-states and cultural identity are often subject to continual negotiation?”
Mike Smith is a performance and video installation artist whose work was most recently included in the 2008 Whitney Biennial and is the subject of the career survey Mike’s World. In the 1970s Smith created the persona “Mike” which he describes as “the human equivalent of a supermarket generic brand.” Smith’s work reveals great truths in its bland presentation of the “everyman” as seen in this Tuesday Evenings presentation, A Night with Mike.
Walid Raad is a New York based artist who generally addresses the contemporary history of his native Lebanon with conceptual work that tackles the representation of traumatic events and collective history through fictitious and factual means. In 1999 Raad founded The Atlas Group and for Tuesday Evenings he presents The Loudest Muttering is Over. Documents from The Atlas Group Archive, a mixed-media presentation of The Atlas Group’s archival material inspired by obscure historical circumstances.
Laura Anderson Barbata is an artist born in Mexico who now lives and works in New York and Mexico City. Working in photography, video, drawing, sculpture, installation, and public art, Barbata has made a name for herself with exhibitions and performances most recently at The Museum of Modern Art, New York, and throughout Latin America and Europe. Since 1992 she has worked primarily in the social realm, initiating projects in the Amazon of Venezuela, Trinidad and Tobago, Norway, Mexico, and New York City. She currently works with the performing group known as the Brooklyn Jumbies, who will perform under her direction and in collaboration with Fort Worth’s Amphibian Productions at the Modern on November 22. For Tuesday Evenings, Barbata presents her work and the way it has taken her from conventional studio practice to a broader engagement with her surroundings.
Teresa Hubbard and Alexander Birchler are the Swiss/American collaborative team whose work is featured in the Modern’s exhibition No Room to Answer, organized by Andrea Karnes. The exhibition is the duo’s first major survey in an American museum, but their video, photography, and sculpture has been recognized and well received in Europe since 1990, when the couple was still in graduate school at Nova Scotia College of Art and Design. Since that time they have shown extensively, with recent solo exhibitions at venues including the Miami Art Museum, K21 Kunstsammlung Nordhein-Westfalen in Düsseldorf, the Whitney Museum of American Art at Altria, and the Museum of Contemporary Art in Berlin, as well as the Venice and Liverpool biennials. For Tuesday Evenings, Hubbard and Birchler present the thoughts and means by which they produce mesmerizing, even haunting video imagery that captures what has been described for the Liverpool Biennial as the “momentary narrative” of a solitary figure in an architecturally constructed space and time.
Donald Moffett is a New York–based artist known for working across artistic categories and media on carefully produced, thoughtfully considered, and visually stunning works that serve as means to often political or social ends. For Tuesday Evenings, he presents the compelling works of a career spanning more than two decades. A founding member of Gran Fury, a 1980s AIDS activist collective, Moffett creates abstract paintings, often with sculptural elements and as part of installations complete with aptly chosen music and projections, that manipulate the history and conventions of painting to address political and social issues of the day. In 2007, Dan Fox wrote for frieze magazine, “for Moffett, painting is used as a kind of aesthetic compressor concentrating the very real concerns and complexities of identity politics and human sexuality into a hard-hitting, high-tension visual experience.” Moffett’s practice has also been described as “using the unlikely choice of abstract painting to ruminate on death, desire, power, and scandal.”